A Look at a More Closeted Era

The Green Bay Tree – Pride Films and Plays

 

In 1933, the same year that saw such American classics as “Tobacco Road” and “Ah, Wilderness!” take to the stage, lesser-known British playwright Mordaunt Shairp’s three-act drama opened in New York, after a successful run in London’s West End. It’s noteworthy for a number of reasons, not the least of which is that it marked the Broadway debut of Laurence Olivier. It’s also important for its masked portrayal of a gay relationship at a time when other homosexual plays, such as Lillian Hellman’s Sapphic drama, “The Children’s Hour,” had been banned from being produced on the London stage by censors. 

While modern-day audiences are probably unfamiliar with this long forgotten play, Pride Films & Plays has included it as part of their five-play PAC Pride Fest. Although not the same script that 1933 audiences beheld, this updated version, performed in two acts, is based upon the 2014 revival, edited by Tom Luscombe. Staged by guest director Amy L. Sarno, this production is peppered with Windy City references but only hints at the gay undercurrents that inspire this play.  

The story is now set in Chicago during the early 1930’s. Prohibition has ended; the Museum of Science and Industry, the Adler Planetarium and the Shedd Aquarium open to the public; Mayor Cermak is assassinated, taking a bullet intended for the newly-elected President Roosevelt; the Century of Progress Exposition, Chicago’s second World’s Fair, opens its gates; and the Windy City’s relatively open gay culture begins thriving in Towertown, the area surrounding the Chicago Water Tower. No fewer than 35 “pansy parlors” are attracting both gay and the curious upper class citizenry to their tempting, provocative cabarets and drag shows.

Into this backdrop we find wealthy Mr. Dulcimer, or “Dulcie,” as he’s affectionately called, and his faithful butler, Trump. Awaiting the arrival of Dulcie’s adopted son, Julian, the two men banter, offering the audience a bit of necessary exposition. When the handsome, young Julian finally appears, it’s clear that he has something weighing heavily on his mind. We quickly learn that he’s met, fallen in love with and plans to marry Leonora, a smart, spunky, attractive middle class veterinarian, but he’s reluctant to tell his adopted father. Much to Dulcie’s chagrin, Julian, who’s been brought up to be a sheltered, almost insensitive hedonist, seems hellbent upon leaving his lavish lifestyle behind in order to start a new life with “Leo,” the woman he believes he loves. The truth is that Julian has most likely just become bored with the predictability of his lush life, always getting everything he wants without having to lift a finger for it.

When Leo finally appears at Ducie’s home, we meet a determined, practical, clearheaded young woman, filled with fiery spirit and sagacity. While relishing the unshakable  attention that Julian is heaping upon her, Leo also feels a certain calling to save this young man from Dulcie, the vampire who’s been grooming Julian to become a mini version of himself. She also urges her fiancee to return to his true father, the Reverend Owen, who’s traded the bottle for a Bible. Julian even temporarily moves back home for a while, while Leo, Owen and his estranged son get to know each other again. 

But, eventually, Julian finds life just as boring at his old home and becomes tired of studying for the state exams, in order to become a vet, like Leo. Eventually he returns to Dulcie’s luxurious apartment, whereupon Julian’s mentor and adopted father welcomes him back with open arms. However, just as the two are about to escape to Cuba for an extended vacation, Leo and Owen show up and the play builds to its inevitable melodramatic climax. The denouement neatly ties up all loose ends with Julian finally becoming the pleasure-seeking bon vivant that Dulcie had hoped to create. 

Sarno’s production has some good things going for it. First is her  quintet of talented actors. While Gary Smiley’s Owen feels a bit tentative and unsure of himself, possibly insecure with his lines, Kristen Alesia is quite the opposite. She’s outstanding as Leonora, the young woman with a mission to rescue her intended. Demonstrating clear motivation and a crisp command of the language, Ms. Alesia dominates every scene she’s in. Buzz Leer is the perfect butler, the unfortunately named Trump. Calm, cool and totally in control, Leer anticipates his master’s every wish and need, and he does so with finesse. Kudos for the ease with which Leer maneuvers the stairs, masking curtains and a tiny, cluttered stage of furniture, while balancing trays stacked with glassware and cutlery.

In one of the two leading roles, Alexander McRae makes his welcome debut with Pride Films & Plays, as Mr. Dulcimer. Firm, eloquent, always in command and yet ever the cultured gentleman, McRae prances and poses about his apartment, forever striking the perfect attitude and look. The actor is at his best when he allows the character’s affectation and the play’s melodrama to take over his performance, thereby providing that specific 30’s style of acting (think “Dinner at Eight”). In this way, McRae mines a great deal of the script’s inherent humor. Mr. McRae’s performance is nicely balanced by the dashing, young Bradley Halverson in his solid portrayal of Julian. The actor’s boyish good looks and undeniable charm go a long way in this role, much as they did in Pride’s “Yank,” Brown Paper Box Co’s “They’re Playing Our Song” and Flying Elephant Productions’ “We the People.” As the spoiled man-child, Halverson smiles, sulks, pouts, sweetly cajoles and ultimately finds his own voice as an independent young man, providing a fine contrast with both Ms. Alesia and Mr. McRae.

While Evan Frank’s scenic design makes the most of a minuscule performing space, upon which he’s been tasked with creating a full, luxurious, early 20th century Chicago apartment (that must quickly transform into Owen’s modest Chicago house), the result is a tiny, cramped stage that’s often confining. Blake Cordell’s lighting is evocative and his period sound design is enjoyably good. Noel Huntzinger’s 1930’s costumes are colorful, textured, well-tailored and hit every note perfectly. 

The element, however, that’s missing from Amy L. Sarno’s production is the melodrama. The director would’ve had a far more successful experience guiding this play if she’d either played it strictly serious, emphasizing the “wicked in great power, spreading like a green bay tree;” or allowed more of the humor to seep through the performances, based upon the script’s obvious, over-the-top acting style, which can be enjoyed in vintage films like “Design for Living,” “42nd Street” and “I’m No Angel.” As the two-hour production now plays, theatergoers are uncertain how they should react, hence a certain reticence to laugh at a recent performance. But this welcome addition to a month of Pride plays, musicals and entertainments sheds light on a more closeted era in GLBT history by focusing on a little-known melodrama from the history of Gay Theatre.

Recommended

Reviewed by Colin Douglas      

                       

Presented June 11-July 8 by Pride Films & Plays at the Prides Arts Center—The Buena, 4147 N. Broadway, Chicago.

Tickets are available at the box office, by calling 866-811-4111 or 773-857-0222, or by going to www.pridefilmsandplays.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.